That’s the name of my favorite playlist.
I hate to admit that anything so trite as production influences who stays on the list and who gets booted, but it does. I hate most music producers.
When Jim Morrison growled out “No one here get’s out alive,” it would not have worked with double tracked guitars and harmonized multiple vocal takes (I’m looking at you, Nickelback). It would not have conveyed the terror quotient that keeps a two chord vamp like Five to One from becoming boring. If Robby Kreiger had a slew of triple stacked rack mounted processors chopping his guitar tone into bits and bytes and spitting them into a hard drive to be rehashed and manipulated, triple over dubbed, compressed (digitally), processed, pasteurized, and packaged for mass consumption, then Roadhouse Blues would never have had the deeper, sinister side. 72 track recording ruined anything rock might have been.
Freddie King, never to be on one of those weird computerized jukeboxes they have now, was never about a bunch of after the fact production.
Metallica tried the low-fi route, thinking it may restore some of their long-dead creative process a few years ago and it almost worked. It almost worked because the song writing and immediate sound of four people playing music took precedent over the cold, cyborg like production style of Bob Rock. It didn’t work because he and Lars Ulrich got together later and took all the raw energy and digitally hacked it up and copied and pasted until they had something they thought sounded enough like their worst efforts at being heavier Bowie ripoffs. It also didn’t work because on top of a terrifically analog and gritty production of the rest of the band, the vocals were crystal clear and pristine, straight out of top 40s pop.
The thing is, people recognize this sort of trivia. Norman Greenbaum elicits an immidiate emotional reaction with the opening lick of Spirit In The Sky, one of the worst recordings ever. That’s a shitty guitar plugged into a cheap Sears amp with the speaker blown out. That’s all it was. And a distant mic. I’ve recorded demos with more wiz-bang crazy technology than Black Sabbath used on their first album. And you can tell. The emotional distance added by the eighties and nineties mentality of producers is not lost on the ear. Even if you don’t know shit about recording.
Think of any typical Nashville country music recording. They all sound alike since about 1991. Anymore, they sound alike even down to the guitar tones. It’s almost sad. And it is because every producer wants to sound the exact same. They may have individual flourishes like a special reverb algorithm or a customized way to not catch anything devastatingly wrong like, God forbid, some AC hum from a guitar. That’s why it’s all fucking boring.
I shouldn’t call it snob rock, it really isn’t. It’s interesting. It isn’t something you turn on and ignore, which makes it useless for some listening purposes.
This is not to say music is dead or anything melodramatic like that. The democratizing factors of modern computer recording and the glut of available analog machines since studios dumped it all has given rise to some really amazing basement creations. The Black Keys come to mind. They also managed to break out and gain fame without owing a studio hundreds of thousands of dollars. They are in the snob rock playlist. There’s a power to the way people perceive creation. Some people just pay more attention.
Every time you hit play, you step into a gallery. Some people want to walk around in a world of Warhol, only devoid of the irony. Some people want something more interesting. I’m not sure any of it matters, anyway. The two man ragtime band, the one where the guy plays a banjo made out of a couple pots and a drum head, will still play Main Street Bagels downtown this Saturday morning hawking cassetes and CDs out of a beat up suitcase.
Sometimes the conceptual value is in the means of your creation.



